David O'ConnellCarlito's Way
October 7th 2008 01:10
One of the great films of the 90’s, Carlito’s Way ranks alongside Brian De Palma’s finest cinematic achievements. Often dogged by critics as a derivative stylist and Hitchcock imitator he first left his impression on audiences in the 70’s with a string of films showcasing his already striking technique, though often exerting itself over substance, perhaps to their overall detriment.
Sisters, Obsession and Carrie were early landmarks but regardless of where you sit in judgement it’s hard to disparage his 1993 masterpiece, to see it as anything other than cinema in its purest form, from the flash-forward prologue where Carlito Brigante’s (Al Pacino) fate is seen to be sealed, to the riveting Grand Central Station set-piece - 15 minutes of riveting action with barely a line of dialogue, the exquisitely orchestrated movements of the players swept along by Patrick Doyle’s greatest ever musical cue.
The source materials are two books written by a former judge, Edwin Torres, with David Koepp adapting them into a singular coherent screenplay.
Released from prison on a technicality (director Paul Mazursky amusingly cast as the irate judge) through the aid of his shifty lawyer David Kleinfeld (Sean Penn), Carlito attempts to walk a straight line away from his past.
He wants to become a better man, free of his inglorious misdeeds, but the harder he strives, the closer his old entanglements encircle, threatening to derail his hope for redemption and a chance of something better, including the love of childhood sweetheart Gail (Penelope Ann Miller).
Pacino is mesmerizing as Carlito, and even if his Peurto Rican accent is occasionally variable, he inhabits this character completely, with the aura of a man who was once lord over all he surveyed but is now disillusioned and disgusted by the rising swarm of usurpers who’ve emerged from New York’s sewers during his incarceration.
This is close to being my favourite performance of Pacino's storied career, and a more sympathetic portrayal you would be hard pressed to find of a man who comes to understand that the past looms larger you more you ignore and disrespect it.
De Palma’s direction is flawless; the way he handles the standout moments is typically brilliant with all the visual flair we've come to expect of him – from the pool room to the elevator set pieces the suspense is palpably drawn out (no matter how many times you've seen them all!).
With the aid of experienced cinematographer Stephen H. Burum (who’s worked with De Palma on 5 other occasions including Casualties of War and Raising Cain) by his side, the film is as proficient on a visual level as any of the director’s other past glories.
Patrick Doyle’s music asserts itself strikingly in many key moments and shows a masterful blend of light and shade – from the haunting elegy of the prologue/finale to the operatic bombast of the action scenes.
Penn is astonishing as the coke-snorting Kleinfeld, the type of searing transformation that the actor has regularly become associated with. With his receding curly wig he’s barely recognizable but is an obvious first link in the chain that will haul Carlito under those rising murky waters connected to his transgressions of the past.
There are great roles for the minor characters too, with John Leguizamo as Bennie (“from the Bronx”) Blanco, Viggo Mortensen as Laline and Luis Guzman as trusted underling Pachanga.
Between the fatalistic reveal in the opening set-up to the tense finale, knowing that only a single outcome is possible somehow doesn’t detract from the method De Palma chooses to bridge these two moments.
Bordering on a masterpiece, Carlito’s Way only gets better with age.
One of my favourite films of all time, I have no hesitation in awarding it cinematic gold!
Here's a trailer making use of the music from Born on the 4th of July composed by John Wiliams:
Sisters, Obsession and Carrie were early landmarks but regardless of where you sit in judgement it’s hard to disparage his 1993 masterpiece, to see it as anything other than cinema in its purest form, from the flash-forward prologue where Carlito Brigante’s (Al Pacino) fate is seen to be sealed, to the riveting Grand Central Station set-piece - 15 minutes of riveting action with barely a line of dialogue, the exquisitely orchestrated movements of the players swept along by Patrick Doyle’s greatest ever musical cue.
The source materials are two books written by a former judge, Edwin Torres, with David Koepp adapting them into a singular coherent screenplay.
Released from prison on a technicality (director Paul Mazursky amusingly cast as the irate judge) through the aid of his shifty lawyer David Kleinfeld (Sean Penn), Carlito attempts to walk a straight line away from his past.
He wants to become a better man, free of his inglorious misdeeds, but the harder he strives, the closer his old entanglements encircle, threatening to derail his hope for redemption and a chance of something better, including the love of childhood sweetheart Gail (Penelope Ann Miller).
Pacino is mesmerizing as Carlito, and even if his Peurto Rican accent is occasionally variable, he inhabits this character completely, with the aura of a man who was once lord over all he surveyed but is now disillusioned and disgusted by the rising swarm of usurpers who’ve emerged from New York’s sewers during his incarceration.
Al Pacino in one of his defining roles as Carlito Brigante
This is close to being my favourite performance of Pacino's storied career, and a more sympathetic portrayal you would be hard pressed to find of a man who comes to understand that the past looms larger you more you ignore and disrespect it.
De Palma’s direction is flawless; the way he handles the standout moments is typically brilliant with all the visual flair we've come to expect of him – from the pool room to the elevator set pieces the suspense is palpably drawn out (no matter how many times you've seen them all!).
With the aid of experienced cinematographer Stephen H. Burum (who’s worked with De Palma on 5 other occasions including Casualties of War and Raising Cain) by his side, the film is as proficient on a visual level as any of the director’s other past glories.
Sean Penn as Carlito's sleazy lawyer Davey Kleinfeld
Patrick Doyle’s music asserts itself strikingly in many key moments and shows a masterful blend of light and shade – from the haunting elegy of the prologue/finale to the operatic bombast of the action scenes.
Penn is astonishing as the coke-snorting Kleinfeld, the type of searing transformation that the actor has regularly become associated with. With his receding curly wig he’s barely recognizable but is an obvious first link in the chain that will haul Carlito under those rising murky waters connected to his transgressions of the past.
There are great roles for the minor characters too, with John Leguizamo as Bennie (“from the Bronx”) Blanco, Viggo Mortensen as Laline and Luis Guzman as trusted underling Pachanga.
Grand Central Station.............one of cinema's greatest set-pieces
Between the fatalistic reveal in the opening set-up to the tense finale, knowing that only a single outcome is possible somehow doesn’t detract from the method De Palma chooses to bridge these two moments.
Bordering on a masterpiece, Carlito’s Way only gets better with age.
One of my favourite films of all time, I have no hesitation in awarding it cinematic gold!
Here's a trailer making use of the music from Born on the 4th of July composed by John Wiliams:
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Comment by Cibbuano
20/20 Filmsight
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Comment by David O'Connell
Screen Fanatic
I'm a huge fan of De Palma's in general and can probably forgive him a lot, especially his 'homages' and stylistic excesses (e.g. a human being exploding from multiple angles over and over again!!)
Comment by Anonymous
Ju wanna a pis of me?
Ju betta no be tawkin buwshit!!!
Comment by David O'Connell
Screen Fanatic